Gordon Brown’s Style Problem

I feel a modicum of sympathy for modern politicians. It must be inordinately taxing for them to appear to be pleased to see the deep ranks of the sniffling public; those pushing up at railings at hospital openings, shouting about their relatives languishing on endless waiting lists. Then, braving the underrated brutality of eggs and saliva, they shake hands with all and sundry and lie convincingly about ‘new steps’, ‘great improvements’ and ‘increased funding.’ Their life is the very kind of celebrity that others dread: public responsibility.

They can therefore be forgiven, you might think, for lacking physical pleasantness. And some might even go as far to say they don’t expect their local Member of Parliament to be ‘too fancy’ in dress.

And why should they be? Politicians represent the serious tonic of reality that awakes us from the reverie many of us float around in; they are the Officers of the Watch who allow us to luxuriate in the privileges of our first rate lives whilst the dirty and grim realities of our existence are attended to.

However, when politicians represent you on the world stage, when they shake hands with presidents and popes, sultans and soldiers, there is an embarrassingly superficial desire for them to look good when doing so. Though patriotism may be the virtue of the vicious, wanting the rest of the world to see the best that your country can offer is a natural desire.
Gordon Brown, our Prime Minister, is one of the worst dressed politicians in our history. Charles James Fox was notoriously scruffy and unwashed, and yet he had charm, Gladstone was tedious in attire and yet even his staidness had a gravity of aging elegance. Brown is hopeless. His feeble hold over his own wardrobe seems to reflect his weakening grasp of his own party, his disregard for custom (he recently resigned from his determination not to wear black tie) and his cynical treatment of the British people. His hideously shiny ties are as badly tied as a rebellious teenager’s. His ill-fitting suits relegate him from world statesman to chippy, ill-informed pretender, and his naive demeanour implies doormat rather than diplomat.

So what went wrong with the mighty Labour public relations machine? Tony Blair, once voted one of the worst dressed Britons in 2003, seems like Cary Grant in comparison with the maladroit and awkward Glaswegian. By comparison, Old Etonian Tory David Cameron is riding high in sartorial public approval; voted one of the most attractive and best dressed men in Britain, Cameron is on a roll as far as his managed appearance is concerned. And the secret is? There is no secret. Cameron makes no clandestine disguise of who he is as far as his garb is concerned.

The difference is that he doesn’t look uncomfortable wearing what he wears. Moreover, Cameron looks like he belongs in his threads. He is not exactly spectacular or that inventive with dress; he doesn’t deserve accolades for individuality. It’s just that he isn’t ashamed of who he is and where he came from. He knows his own style and he sticks to his guns.

The same can be said of Charles, Prince of Wales, who I consider to be the best dressed of men. He doesn’t dress down misleadingly and he doesn’t treat tradition and honest style with cold cynicism. He has artistry and flair and he uses these qualities to great effect and I applaud him for his stoicism and grand representation of the British monarchy.

‘For shame!’ The reader may cry, ‘Wardrobe is not the meat and veg. of representing the people.’ I agree. It has fractional importance when you come to the point. However, we don’t live in the sort of world where people can get away with inadequacy any longer. The camera lens and the gossip column invade all secret places of meagreness; we want more and we demand more from our representatives.

Therefore, I think it’s time either Mr Brown, or his unschooled clothiers, take a leaf from the style pages of the heir to the throne, or the spruce young chap sat opposite in the House of Commons. Brown certainly isn’t what he wears, and it’s hard to imagine Brown actually looking debonair or commanding. However, pride in personal appearance and style doesn’t always indicate personal vanity; it can be a herald of a concerned mind and of the desire for enhancement. Style, confidently shown, is respected and is considered a sign of self-assurance and conviction.

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COS Stores: Style and Quality Finally Affordable

I am very wary of making predictions. Dining on my own words has always put me off soothsaying and I am unpleasant when humbled. However, there is one thing I am confident in claiming, something I am almost certain will be proved to be correct. And that is that COS, the stylish little-sister company to Swedish behemoth H&M, is the future of style for the man on the street.

I am famous for my unswerving loyalty to Zara, and for good reason; Zara is a breathtaking success in terms of fashion. When I first experienced the London store those 4 or 5 years ago, I was stunned. Now, unsurprisingly, I am used to it. Also, in that period, Zara has, unhappily, let me down on a number of occasions. In its bid to capitalise on the tastes of all men, the menswear department’s audacity has gone. It still offers excellent design, but with a rather depressing familiarity to the clothing. While the women’s department still offers some of the best and most innovative designs I have seen for the high street, the menswear designers seem keen to give us rehashed, and to be frank, rather ordinary versions of items that are available in countless other stores.

COS on the other hand is a revelation. And why, you may ask, am I not concerned that COS will turn the way of Zara? Why will it not bend to fashion and to the collective taste of the average man on the street?

To answer the latter question first, COS does not seek to clothe the average man on the street. COS seeks to appeal to the disenchanted man of style, the dandy without a tailor. The man who seeks style and form rather than cheap slogans and throwaway fashion is at home in COS. Suits are well made; the cut is simply superb, and by far and away, they are the best suits on the high street for form. Colours are seasonal, but subtle; do not expect the rainbow of colours on offer at H&M, COS is about sleek clothing. Black, white and grey prevail. There are country colours on offer too; khaki, browns, dark greens and blues, but there is a COS mission to provide excellent quality basics at affordable prices. In other words, don’t come here for pink braces.

To answer the former question, I refer to the comments of Michael Kristensen, head of COS menswear design and flag-carrier of this new movement in providing style and form rather than fads and frippery. When asked what character the current collection at COS evoked, Michael replied the collection calls to mind “…a modern man with a big city mindset. He understands and definitely appreciates good style and great quality.” He was also asked to name the strongest defining characteristics of the collection and, though this was specific to Autumn/Winter 2007, they could easily be applied to all collections available in store as I believe this quote defines COS as a store; “Upgraded qualities and clean, modern silhouettes.”

With a captain like that at the helm, there seems to be no worry that COS will start downgrading for popular appeal. H&M doesn’t need COS to be a flyaway success with bright young things throwing clothing away like empty packets of Marlboro Lights. It needs it for what it already is and what it currently stands for. My only wish is that they open more stores around Europe, and eventually, the world, so more men of my leaning can appreciate the spectacular sensation of COS for themselves.

If you are German, you are very fortunate; there are six stores. Apart from London, Brussels, Antwerp, The Hague and Copenhagen are the only other cities to have a COS store. Depending on how successful COS is in the next sixth months or so, I would imagine more stores would open, including perhaps one or two in Stockholm. I doubt it will hit the United States for another 12-18 months, which makes it a very long wait, but in my opinion, it is definitely worth it.

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Choosing Scarves

How many scarves does a man need? I have bought scarf upon scarf, never counting the total, never even caring how much I frittered away. Digging through piles of forgotten cotton in my many draws, I have discovered old reserves of scarves, and of varying shapes and sizes. Variety, I have often been taught, is the spice of life, and I have always believed style can take any number of forms. The bonding aspect of all the scarves in my collection has been their incalculable efficacy in keeping my neck warm. And yet that, for many of my scarves, is where the familiarity ends.

I think a gentleman needs to consider what he needs the scarf for, why he is purchasing it and what effect he would like the scarf to have. Though the initial point seems as plain as a pikestaff, there is more to consider in the purpose of a scarf than as an accessory to maintain bodily warmth. When will he wear it? With what will he wear it? At what time of day will he wear it? Only the individual gentleman concerned can answer these questions. However, we can certainly speculate on what the hypothetical gentleman would consider desirable.

The classic cashmere

The cashmere scarf has become a commonplace and everyday item in the gentleman’s winter wardrobe. The age of ‘exclusive’ cashmere is over; affordable luxury is here, and cashmere of fantastic quality is available to all. For a classic cashmere scarf, a gentleman should be looking for a subtle and sober colour that will complement his winter wardrobe. Unlike ‘fashion’ scarves the gentleman may purchase, the classic cashmere should have traditional proportions. Pictured above is a conventional example. The braided fringe is essential for the traditional scarf. ‘Chopped’ scarves, even in fine materials (unless they are striped college scarves) look unfinished.

The college professor

The quintessential college professor has no use for the dainty consumerist luxury of cashmere. A more practical equation, in his mind, is to maximise material length, thus increasing the possibility of insulation from the wretched elements. Though ‘college professor’ is rather a stereotypical name for the garment, the long scarf has unerring connections with academia. I remember my days at university, surrounded by naïve Marxist venerators, their necks encircled with constrictor-like woollen conceptions, carrying off a revolutionary look with astounding self-possession.

Ideally worn with more casual clothing; long coats, cardigans, loose jumpers and substantial or practical footwear, the college professor scarf should be knitted and the braided fringe should be messy and uncommitted.

The flying ace

Silk is a material not often favoured by modern gentlemen; it is effeminate and lacks the rough-hewn appeal of fishermen’s wool. However, brave pilots of the air, in the early days of aviation, often wore silk scarves to keep the oily smoke out of their mouths whilst flying. The versatility of the fabric, means it can be used practically or merely for decorative panache. I use the many silk scarves I own practically in the winter months, tying them securely around my neck for warmth; they are an extremely pleasant alternative, in terms of the sensation on the skin, to almost any material. And they are also very warm.

The desert scarf

The man’s pashmina, the classic desert scarf has become an urban classic. Worn around the neck in a disorderly fashion, it is worthy of mention because of its contemporary style appeal. It’s rather Lawrence of Arabia; explorer and dandy rolled into one, and it will undoubtedly last. It’s best to wear this with more casual, weekend outfits.

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Using Colour in an Outfit

Adding that measure of poise to an outfit is the sine qua non for the elegant gentleman of today. Balance and harmony have become important once more to the modern man and this element of sartoria can take a number of forms. One of the most common methods of attaining this equilibrium is through the use of colour.

Colour matching and complementation is a universally adopted method of balancing and is used in not just fashion, but a variety of design fields where synchronization is desired. The question is how far to go with the matching and complementation; where does harmonious elegance end and heavy-handedness begin.

Though some might claim such balancing is a science that can be taught, experimentation is the most vital thing to remember when playing with colour. Rules, such as not wearing navy blue with black, are there to be broken; if you can pass off an unconventional match with aplomb then so much the better.

Feminine colours

Pinks, purples and even oranges and yellows are often considered feminine colours. Turquoise is regularly regarded to have that jewel-like brightness that only a woman can be seen in. However, using feminine colours in moderation alongside male classics such as school blazer grey, navy blue, black and racing green will dilute the acidic effect they can often have. Playing merry hell with such colours will lead to the ice-cream-Florida-retirement-home sartorial disaster; I learned my lesson long ago about being too ‘brave’ in this regard.

Using white and black

Use white and black to take the sickly-sweet out of overly colourful looks; this will add a calm to the mélange. The pictures below show how this technique works.

Pink

Good colour companions for pinks are black, light and dark greys, navy and mid blues, dark green and, for a summertime look, ivory and white. Pink is sophisticated and friendly and is appropriate for all seasons. However, be careful not to colour match too much; if wearing a pink shirt, match it with, at most, pink socks or a pink pocket square if the mood throws you. Companion colours for pink in terms of such accessories are spring greens, navy blues and browns.

Purple

Purple is a difficult colour to manage. It’s certainly striking and regal in appearance, but it needs to be worn with outfits of a sufficient sparkle. Charcoal greys and blacks are the best companions for purple; small accessorising colours able to stand up to its dominance are bright reds, rich greens and strong sky blues. It’s best to restrict colour matching when wearing purple. The true Imperial purple of Rome is a statement in itself and throwing arbitrary colours into the mix can look messy.

How far to go with accessorising

Colour matching and contrasting is a lot of fun and the effect can be truly magnificent. However, an unhealthy mix can draw unwanted attention. Pocket squares and socks are subtle ways to support or draw upon another colour that you are wearing. Adding colour matching belts and gloves can look excessive, especially if you are wearing several references to that colour already.

Instead of perpetually colour matching, colour styling is a good idea. This is a habit of wearing certain colours with certain styles of accessories and footwear; for example, the habit I have of wearing a brown belt with brown shoes or check shirts.

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Style Icon: Noel Coward

The artistic polymath Noel Coward was also one of the most desired and admired men of his day. A playwright, award winning actor, composer and society wit, Coward was the living exemplar of a Hollywood super-character; suave, clever and wickedly talented.

He was also one of the leaders of fashion and his high position of influence meant that his particular interpretive chic was followed by many men who would, had he not been Noel Coward, probably not have allowed themselves to be persuaded so.
Coward was flamboyant, and his wardrobe was no exception to this. Not garish and gaudy like a Quentin Crisp, Coward’s style was sleeker and less baroque. He had idiosyncrasies to be sure; white shoes were a favourite of his, as were large almost clown-like bow ties but he was never inflexible.

His style changes throughout the decades of his life display his openness to fashion and new ideas. In photographs of Noel Coward, at the height of his powers in the 1930s or towards the end of his career, and his life, in the 1970s, you get a sense that Coward was enjoying himself all the way. At no point do you look at him and see a defeated man; an embittered oldie who has let the world go by. He looks thoroughly active; taking part, mixing in and providing creativity all the way.

In addition to his artistry of dress, Coward had a knack for posing. Never shy of the camera, some of his portraits are works of art; sitting or standing, Coward gestures and throws mordant smiles at the lens.

Coward is often credited with being a 20th century dandy. Alongside the other candidates however, Coward shines. He was never foppish nor brassy, and his jaunty style was always in good humour and was as much a part of him as the witty melodies running through his mind. Other modern dandies have tended to mock dandyism, taking the meaning of the word to a tasteless extreme. Coward’s part in fashion was rather like that of Brummell’s; a modernity that doesn’t look too modern, an elegance that doesn’t look like ornamentation. Coward couldn’t abide vulgarity and often spoke of his friend and contemporary rival Ivor Novello as a talented man, one capable of being “violently glamorous” but also a “little vulgar.”

Coward was all about discretion and taste; a thoroughly English gentleman who put his best foot forward. He is likely to be remembered, fortunately, for what he gave to the world. As long as his name is muttered approvingly by generation upon generation of devotees, the world will be exposed to the unique and entertaining personality he was; an icon in all the best denotations of the word.

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